Recording of Benno Ammann's Mouvements.

Recording of Benno Ammann's Mouvements. Realized at the Ipem Studio in November 1976. Two main structures, computer-controlled (and partly alienated and distorted), form the basic material of the piece, and are mixed, varied and transformed into new sound formations in an aleatoric process by means of high-low filters, tempophones and feedback subjected to variable time. Contrasting sound elements (more figurative characters), produced on the apparatuses DATAPULSE and WAVETEK of Ipem’s studio, accompany the main sections parties principally by variation and increasing movement in ever changing time.

Audio recording of a public meeting at the Caldwell County Commissioner's Court.

Audio recording of a public meeting at the Caldwell County Commissioner's Court, with Judge Scott and Marion Crowell.

Audio recording of First Baptist Church Minister and Choir in Caldwell County, Texas. Recorded by Steve West.

Audio recording of oral history with Bettie Waller.

Audio recording of oral history with Florence Whitehead. Interview conducted by Dee Azadian.

Audio recording of oral history with Ed Bell, tape #1. Interview conducted by Dee Azadian.

Audio recording of oral history with Ed Bell. Interview conducted by Dee Azadian.

Audio recording of oral history with the ladies' quilting bee in Lytton Springs, Texas. Interview conducted by Dee Azadian.

Audio recording of oral history with Maggie Brown. Interview conducted by Dee Azadian.

Audio recording of oral history with Mifflin Ellison.

Audio recording of oral history with Yuman Ellison. Interview conducted by Kent Black.

Audio recording of oral history with Yuman Ellison. Interview conducted by Kent Black.

Recording of Peter Beyls's Evolution inexorable et environnement humain.

Recording of Jeff Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Jeffery Bossin's Studie I. The composer's first electronic work, composed in 1975. It represents a study in the development and structuring of material derived from three phonemes.

Recording of Gabriel Berncic's "Chile Fertil Provincia..." Electronic and instrumental sounds, recorded and processed onto four tracks, make up an autonomous flow. To this are added percussion, viola, double bass, tumbadoras and voices, these instruments-persons bringing new visions to the ensemble through the free creation of sequences and/or parallel discourses. "Chile fertil provincia" is the opening line in Alonso de Ercilla y Zœ–iga's La Araucana, the long epic poem which was the first to tell of the conquest of this remote West Indies country in Spanish American literature. It is an allegory about the motherland in ancient and recent times: Latin America told through scenes whose chronology does not obey any absolute historical time. Beginning with a futuristic ancestor and passing through different vassalages, a synthesis forms which evokes the oldest of traditions and aspires to be a binding hymn of the peoples. The titles of this staging music are, in order of performance, as follows: The Woods of Our Ancestors and of Those Yet to Come, The Conqueror's Cross of the South, The Piano of the Inquisition, La Moneda del Valle de Yuro, Jail and Disappearance, The Broad Boulevards Will Open Up. This work, revised several times and finally …

Recording of Lief Brush's Treesway Solo. The only coloration that was employed in early sound handling was through equalization, balancing and combining mix-downs. Structure-wise, the piece centers around spaces in spaces, scale and proportion and the composer's soundworks effect an awareness of the psychological effects of sounds, for instance, from trees and wind transformation via the composer's windribbon. The basic groundwork includes several recyclings of the TerraInstruments including the signal discs, selfbroadcasting trees, lased raindrops and windribbon variations in an attempt to express the voltages from natural sources as recontextualized audible constructs: offering personal connections to the long term aural memories of earthguests.

Recording of Leif Brush's Treesway Solo. “After an intense period of analog familiarization with the range and enormity of available sounds extraterrestrial and in nature, I tried the only techniques then available to me, tape manipulation and speaker placements. The only coloration that I employed in early sound handling was through equalization, balancing and combining mix-downs. I have always monitored from nearly neutral sensors, and my interest has been in trading, configuring and juxtapositionings and in the presentation of sound in natural and climatically different contexts, mainly exterior and in real time. Within the 1980s, I worked with 200-speakers using an Intel 8080 microprocessor used for satellite teleperformances, with collaborators and in outdoor "studios." Structure-wise my work centers around spaces in spaces, scale and proportion, and my sound works’ effect on awareness of the psychological effects of sounds, for instance, from trees and wind transformation via my wind ribbon. I am concentrating on conceptualizing a segue from Internet to real time with on-call two-way availabilities of my data-laden resources. My basic groundwork includes several recyclings of the TerraInstruments, including the signal discs, self-broadcasting trees, lased raindrops and wind ribbon variations in an attempt to express the voltages I seek from …

Recording of Rodolfo Caesar's Tutt frutti.

Recording of José Luis Callejo's Espai Sonor for oboe and tape, performed by Gabriel Brnčić, oboe.

Recording of Tony Van Campen's Sintering.

Recording of John Anthony Celona's Timbral-Orchestral.